Tomorrow We Live

A really interesting turning point for Ulmer. Slow start, but a lot of really classic Ulmer themes are introduced right off the bat. Around the halfway point it picks up and there's a pretty exceptional gunfight near the end. The bad guy unravels and his frightened rage is really well done - he's at once pathetic and frightening. The final shot, a powerful low angle of our heroine, feels very Russian and unusually triumphant for the morose Ulmer.

Edgar G. Ulmer makes a little crime picture. Highly unremarkable, except the coup of getting Ricardo Cortez for the nasty guy pursuing Jean Parker. The old man Emmett Lynn got some sympathy, but the rest was below par.